Vietnam War

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By Patricia Keeton

No different cinematic style extra sharply illustrates the contradictions of yank society - notions approximately social category, politics, and socio-economic ideology - than the conflict movie. This publication examines the most recent cycle of conflict movies to bare how they mediate and negotiate the complexities of conflict, classification, and a military-political venture principally long gone undesirable.

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After America entered the war in 1941 on the side of the Soviet Union in an alliance against fascism, the book was taken off the shelf in American bookstores, a politically motivated act of censorship Trumbo apparently agreed to, though after the Korean War began in 1950 and he was jailed a year later it was a decision he would come to question. Given the political and huge financial risks at play with mainstream cinema, it is unlikely that radical sentiments such as the ones above will be expressed by Hollywood.

Beginning with Vietnam, when the military and political goals of America’s continual wars became increasingly murky, if not suspect, Hollywood started to trot out parallel bromides like “Everyone comes home” and “We’ve got each other’s back,” as if these were substitutes for valid reasons to go to war thousands of miles from home. As usual, a rather large discrepancy exists between the romanticizing of war in literature and in film and the history both seek to portray. During the actual Battle of Agincourt, although the English themselves lost a mere 115 soldiers, things did not go nearly as well for roughly 10,000 French Th e Wor k e r a s Wa r r ior 27 knights and men-at-arms: weighed down by their armor and nearly drowning in mud, they were defenseless while the English cut their throats.

The Iron Heel by Jack London was first published in 1907, just after the first Russian (and failed) Revolution in 1905 and seven years before World War I that the novel predicts. Considered America’s first dystopian novel, it influenced George Orwell’s novel 1984 (published in 1949) and Kurt Vonnegut’s first novel Piano Player (1952). All three works are about a capitalist/fascist oligarchic world, but only in London’s novel about a social revolution in America do workers go to war against their masters.

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